The Expendables franchise has been that nostalgic action extravaganza that gives me a small piece of the 80's action films that I grew up with. Ranging from Commando to Cobra to The Transporter (even made in 2002, it was old-school). The only way I could give a good grade to Expendables III is if I get memorable characters, thin as a piece of yarn storyline and a violent over-the-top ending. Even when it's PG-13, it was a mindless blast.

A perfect scenario is my beautiful girlfriend treating me to my cinematic action gods battle it out for two hours on a 75 foot screen. Friday night, I got my wish.

As each film opens with a slam bang beginning and this was no exception. Barney Ross (Sylvester Stallone) and The Expendables are on a runaway train to rescue an old friend, Doc Death (Wesley Snipes) from a foreign dictator however, they do some nifty tricks with a helicopter and blow away about 20-30 anonymous henchmen. Right away, they have to make a regular drop in Somalia but then someone gets the drop on them and it turns out to be the co-creator of the Expendables, Conrad Stonebanks (Mel Gibson). Leading to Barney ditching his team to find a 21st century version of his team. Yeah, we will get to that a little later.

Director Patrick Hughes follows Stallone and Simon West's technique of well choreographed action sequences mixing in cheesy CGI and man made action fit well enough together. When the bullets fall, body count increases and explosions become rampant. It's where the film hits its peak.

Stallone brings his tough guy exterior and ripped up bod with his charisma intact as usual, always good to see Jason Statham, Randy Couture and Dolph Lundgren still around to take down targets as they drop corny one-liners with ease like a lost script of Tango & Cash. Joining the team is Antonio Banderas' hysterical but ass-kicking Galgo who gets most of the laughs with his ability to stop a continuous thread of talking, replacing greedy Bruce Willis is a more capable Harrison Ford as CIA analyst Max Drummer (a little riff on Jack Ryan) who lands one-liners and also shows a sense of fun from Ford who later says, "It's the most fun I've had in a long time". Thankfully, the master of action brings his cigar-chewing charisma, Arnold Schwarzenegger uses some of his famous one-liners and sports his .50 CAL. The scene stealer though was Gibson. He plays Stonebanks as an over-the-top suave psychopath. Seriously, when you see the inevitable scene among Gibson and Stallone, he will have your eyes glued to the screen. It just shows truly good he is as an actor. I cannot name one film where he gave a bad performance not even Bird on a Wire, ugh bad memories,

Just like the films I named before, there are always flaws. It just depends on if its strengths outweighs its flaws.and it was when Barney goes recruiting. He meets Bonaparte (a gamed Kelsey Grammer) introducing us to Thorn (Glen Powell), a computer genius and a free climber. Yes, I said that right. Mars (Victor Ortiz), Luna (Ronda Rousey) who kicks a ton of ass but was probably the best "actor" out of this group and then came along the uncharismatic Kellan Lutz whose physique outweighs his acting daily. Trust me, I saw him as Hercules earlier this year. Lutz brings nothing to the table no matter how many stunts or effort at leadership, you do not buy it and thank goodness all four of them are captured which gets back to the formula of the first two films.

After Stonebanks plants his own revenge back on Ross...near the 90 minute mark where Hughes uses the kitchen sink philosophy and dumps every aspect of action, weaponry, stunts and fight sequence that you can think of. As I walked out of the theater, my mind was blown and I even forgave it for lack of blood and cursing. As I say farewell to my cinematic action gods, I leave with this. You will never, I mean never have this batch of action heroes again. The only one I can think of is Jason Bourne, excluding superheroes.

Verdict: B+

The Expendables III continues to show why guys like Stallone, Schwarzengger, Ford and Gibson knew how to fill the theater seats in the 80's and 90's with charisma and a sense of joy tapped in with well-choreographed and imaginative action sequences even with it being 20 minutes too long. This is indeed the right kind of farewell for action fans who grew up with Terminator, Indiana Jones, and Braveheart, Ignore the critics and see it for yourself.

Sometimes being old-fashioned is a good thing. Case in point with the revenge thriller, Cold in July that brutal heart keeps thumping away.

Based on the Joe R. Lansdale novel, it opens in the midnight hour in 1989 East Texas. Richard Dane (Michael C. Hall, Dexter) accidentally kills a lowly burglar. Dane runs a carpet store in the area and when the police identifies him as Freddy Russell, he is declared a local hero. It becomes a short celebration when ex-con Ben Russell (Sam Shepard) comes storming into town looking for vengeance on his son's death. However, Dane suspects something that the local police ran by Ray Price (Nick Damici) is hiding something when he witnesses that twist and changes the tapestry of the story. Russell backs off Dane and enter a FBI agent, Jim Bob Luke (played slyly by Don Johnson) which sends the story due south to Houston.

Director Jim Mickle does an excellent job shooting this like a 1970's revenge thriller. Films like Death Wish came to mind with its unapologetic and violent brutality. The twists and turns alone show the true crime, it warrants cold-blooded revenge on its criminals. Even Mickle keeps the dark humor from distracting from its story that speeds things in the final bloody minutes. There is no slick cinematography but stripped down grit from the time Jim Bob enters. Handling the action choreography with substance over style and precise in humanizing the character by emphasizing the word, "fear" in their reactions.

Uniformly excellent performances across the board with Hall embodying a man that has never taken someone else's life and shows that not everyone reacts like a hero, but shaken to a point that anything could make him snap like a twig. At the same time what happens when fear is thrown out the window. Shepard should get some nods for his complex performance. Showing what a father-son relationship, the meaning of it could be turned into a double-edged sword if it merits the angry reaction of a conflicted father. Johnson always knows how to deliver on characters like Jim Bob. He is a simple man that believes in old school strategy when it comes to bending the rules of justice and dangerous with a double barrel shotgun in hand. Vinessa Shaw has never got the critical respect as an actor. I am going to be the one to tell you she was terrific as Dane's wife, Ann emphasizing the meaning of "standing by your man" but as well when Richard is having issues, knows to be a mother and a wife second at a point. To feeling the pain of this woman, something that reminded me of Maria Bello in A History of Violence.

Verdict: A+

Cold in July doesn't waver to modern filmmaking by knowing how to adopt book to film storytelling and making it as intense on screen with its excellent performances, brutal action sequences and delivering on its vengeance in cold-blooded fashion. At the end of this film, I was applauding it and that alone is rare. This is one of the best of the year. Seek it out, you will not be disappointed.

Let's face it, the Transformers franchise is nothing more than empty calorie blockbusters that lets your brain take a nap while your eyes embrace the visuals and jaw-dropping action. Age of Extinction is not only relentless in it's running time but it finds a way to forgive its faults.

As a critic, this should be torn up for it's awful acting, bloated 165-minute running time, and a storyline as thin as a string of yarn.

However, if you're a fan of Transformers. It's a refreshing to see them escape from the humans and focus more on the cornball but effective simplicity of the Autobots and Decepticons.

Mark Wahlberg is Cade Yeager, an amateur inventor from West Texas that's having eviction issues unless he brings in some cash. At the same time he has to deal with rebellious daughter (Nicola Peltz) dating an race-car driver. Thank goodness (sarcasm)! Because he's important because he drives.

As my eyes began to roll, Cade finds a broken down semi and all I could think was it's Optimus Prime! Meanwhile, Harold Attinger an alien eliminating politician (Kelsey Grammer) is using his own force to destroy all remaining Autobots. While a genius billionaire (Stanley Tucci, huh?) is using parts to create bigger and better versions with a new but outlandish formula. After his cronies try to get Cade to spill info by brute force, out comes OPTIMUS PRIME to wreck them. Thank you, because when the story sticks with them which speeds up the film.

Director Michael Bay (hush, basement dwellers) stamps his passport of destruction to good usage by turning cities into economy-stricken rubble like Houston, Chicago (again), Shanghai and top it off with Hong Kong. Bay is the master of destructive action choreography. Following the kitchen sink philosophy by destroying buildings, blowing up ships, and sacrificing us humans to give you the best action sequences of the franchise. Topped off with eye-popping CGI that alone will have you cheering in your seats, if that's your thing.

Even as a fan of the franchise, admit you wanted Megan Fox to comeback because Peltz is nails on a chalkboard. When she speaks, you want to check for closed captioning. Even Bay-ifying her didn't help. Ditzy and unlikable with blonde hair, make-up done by oil funnel and jean panties. However, Reynor was worse. He was the stereotypical jerk wanting to rebel and take ownership of Cade's daughter. Taking credit and coming off like a coward, his stiff as 2 x 4 delivery and someone should foot the bill to buy him acting lessons. You know you're bad when your supporting cast is out acting you in live-action and as an autobot. Ha-ha.

Peter Cullen always nailing down Optimus Prime for the last 18 years. Lockdown is brought back respectfully voiced by Mark Ryan. Even John Goodman (Damages) and Ken Watanabe (The Last Samurai) lend their voices to Hound, a military transformer chomping on a cigar and firing a .50 cal and Drift, a samurai with double-edged swords. No, this isn't racial overtones like Revenge of the Fallen was guilty of. Always a delight is Wahlberg, Tucci, and Grammer. In fact, Grammer looked ready for his character to be offed, so he can grab his paycheck.

Verdict: B

Transformers: Age of Extinction goes two ways whether you're a fan of the franchise then you will forgive this for it's thin storyline, tomato throwing acting and 165 minute running time. If not, you'll dismiss it as one of the worst of the year. I may be a critic, but i'm also a fan.

Comic book films nowadays have shown they are tired of listening to the fans. Amazing Spider-Man 2 follows the same trail of Iron Man 3 ignoring the comic book purists and gives us one of the most entertaining and inventive films of the year.

Peter Parker/Spider-Man (Andrew Garfield) has graduated from high school and while in spandex, his smart-ass persona comes out along with stunning aerial flying across New York kicking ass and taking names. Meanwhile, he’s also struggling with the on/off romance of Gwen Stacy (Emma Stone) while figuring out the mystery of his parents’ murder and what it has to do with Oscorp and reconnects with Harry Osborn (Dane DeHaan). A lot on his plate.

Max Dillon/Electro (Jamie Foxx) frustrated with being at the bottom of the unpopular corporate totem pole is rescued and given a few inspired words from our web-slinger. Even on his birthday, he’s so lonely that he believes Spider-Man will wish him Happy Birthday. I wouldn’t start renting out hotel ballrooms just yet. Suddenly, after a spectacular but freak accident, Dillon turns into Electro, a superhuman being splashed in blue that needs electricity to live and has nothing but vengeance and desperation of being seen on his mind.

Garfield and Stone just continue showing that their chemistry beats the living daylights out of Tobey Maguire/Kristen Dunst. At least they were smart to not to go Days of Our Lives on us when they were struggling with their relationship. Ugh, still haunts me watching Maguire blubbering as Dunst dumps him in Central Park. When they are around each other, it feels real and also humorous. Garfield continues to embody and prove he’s the man to play a true Spider-Man, the way that Stan Lee introduced him back in the 1960’s. He’s smart alecky, funny, and at the same time spoils any villain’s schemes but also when Parker, he throws us into an emotional twister of struggle, anger and embracing change within his life. Stone gives Stacy, a makeover of independence and strength that was a breath of fresh air that alone made the romance just as watchable especially when the playbook changes in the final minutes. You may get choked up, just a warning.

Foxx makes Dillon into a detached soul away that can’t embrace reality that he’s just a low level employee and shows his versatility as he does an 180 as Electro which is where the strength of the film is within. It looks like director Marc Webb brought emotions within his cast, Electro just by the sound of his voice, you can hear his anger through grinding teeth and obsession over power. Webb and his SFX team put out some spectacular, well-choreographed action sequences that kept me entertained and even chuckling in excitement as I chomped away on my popcorn witnessing the incredible aerial sequences of Spidey swinging through New York. Screenwriters Roberto Orci and Alex Kurtzman make sure that the writing is chock full of philosophical quotes and cheesy comic book dialogue.

Like Iron Man 3, director/screenwriter Shane Black wanted to make the film he wanted and not LISTEN to the fans especially when geeks, comic book purists living in their mom’s basement had a heart attack over what Black did to the Mandarin. Webb has seriously infuriated them and I applaud him for it because a comic book film is meant for one thing and only one thing…eye candy entertainment.

Verdict: A-

The Amazing Spider-Man 2 continues Marvel’s onslaught of successful comic book franchises by bringing humanity to his characters, keeping Garfield’s Peter Parker/Spider-Man balanced between light-hearted chuckles and struggling through real life loss but keeping the aspect of fantasy within his exciting CGI-layered action sequences and the setup ending for Amazing Spider-Man 3 already has me marking my calendar.

Kevin Costner always guarantees a solid performance, no matter if it's Open Range or schlock like 3000 Miles to Graceland and he delivers in bad ass fashion in 3 Days to Kill but it's behind the camera that wrecks it.

Costner is Ethan Renner, an seasoned CIA operative that's recently retired after being given 3 months to live after being diagnosed with a deadly disease. Relocates to Paris to reconnect with his wife, Christine (Connie Nielsen, Boss) and daughter Zooey (Hailee Steinfeld, True Grit) when suddenly operative Vivi Delay (Amber Heard, dressed as the poster child for an dominatrix) forces Renner into ONE LAST JOB, how original.

He must stop the international assassin, The Wolf (Richard Sammel) or the Kitten who gets my award for "Least Threatening Villain of 2014" strictly because he does nothing but hide behind his bodyguards for the majority of the film. In exchange, he will be given injections for a magical formula that extends his life even though he passes out at the WORST times.

A cool premise and screenplay by Luc Besson and Adi Hasek put into director McG's hands is chopped up into puree and creates a sloppy mess in the cinematic kitchen. Granted, he knows how to put together a good action sequence but is completely inept at creating emotion and comedy that it splits into two films. Part action, part family drama. Ugh.

Costner keeps you interested while showing off some cool moves and intelligence towards his work but he really is obsessed with a purple bike that fails to generate even a chuckle. Nielsen plays his wife as good as her thin character development allows her and Steinfeld continues to show promise with sly but caring performance and even made me laugh everytime she called him Ethan (instead of Dad) while the villains are complete cardboard.

When the action is on, so is the movie but when the family drama is the showcase, I was about as bored and annoyed just like in McG's latest bust, This Means War.

Verdict: C-

3 Days to Kill wants to be Taken and The Transporter but poor direction and a bloated running time hampers Costner's gruff performance and cool premise. If you want to see him in hero mode, rent No Way Out instead.